Bob Schwartz

It’s In The Grooves


Grooves are gone, mostly, from recorded music. Vinyl is still around, maybe even growing a little as a cool, specialty format.

Whether or not those circular scratches in plastic remain how we listen to music, the fundamental truth that was uttered back in the day still holds:

It’s in the grooves.

Meaning: You—artists, arrangers, producers, managers, record labels, media, fans—can blah, blah, blah about business, production, charts, back story, gossip, about what is, what could have been, what should have been.

But in the end, it is about the music, as it plays, as it sounds. Nothing anybody says, no matter how central, no matter how insightful, enlightening or fascinating, changes that.

The real life and real world concerns surrounding a record are far from unimportant, especially to those directly involved. But if that is the beast, then the heart of the beast, or its soul and essence, is the music.

So if you find yourself deeply engaged in all the music chatter, when you can, once in a while, shut out the extraneous and, politely, shut up and listen. Because even if the grooves are gone, they are still the only place recorded music actually lives.

Donna Summer


For those who never stopped listening to Donna Summer, the news of her death was more than nostalgia or a pop culture milestone.

Fans might have wished that the iconic tracks could somehow be stripped of the signature Giorgio Moroder disco production, so that all you could hear was simple pop gems sung by an angel. Maybe that will happen. But in their time, the voice and the thumping beats were what helped elevate disco and make these monster dance floor hits.

True talent overcomes. Her first record I Feel Love was an attempt to exploit her sex appeal as much as her voice, sort of disco porn. That lasted one record. Even though there was plenty of sexiness to come, she was never again presented that way. She was a star, not a sultry gimmick.

She didn’t get enough opportunity to showcase on record all that she was and could do. There are some live recordings that include non-dance arrangements, but these are too rare.

She took the over-the-top Jimmy Webb song MacArthur Park, which had been talk-sung into a 1968 hit by actor Richard Harris, and ten years later made it nearly-beautiful and nearly-plausible through the force of her voice. The disco production is still heavy-handed, but she reached notes that Richard Harris only dreamed of during his alcohol days. It was a massive hit.

One thing to know: On the duet No More Tears (Enough Is Enough), Donna Summer outsings Barbra Streisand. The blending of voices is excellent, but before they come together, listen to them trading lyrics. Even Streisand fans should get that this one belongs to Donna Summer. Streisand never did choose to perform this duet live.

We feel love.

Barack and Mitt: The Most Unpopular Candidates in American History


This is an unprecedented Presidential campaign. Just ask the Social Security Administration.

The SSA keeps track of baby names, a database that goes back to 1879. It just released its list of the 1000 most popular male and female names for 2011—Jacob to Armani to Ethen (sic), Sophia to Francesca to Damaris. None of that necessarily matters for the Presidential race.

What does matter is this: Never in American history have both major party candidates for the Presidency had names that were not among the 1000 most popular—ever.

In 2008 it was easy to surmise that one name (not John) had never made it to the Top 1000, and Barack still hasn’t. But this year’s race includes two overwhelmingly unpopular names.

Romney’s real first name Willard has made appearances on the chart: the last time in 1989 when it was #966, and it reached its highest position in 1915 (#58). But that isn’t the name he has ever used. The name Mitt is nowhere to be found.

The Presidential names (including candidates) you think might not make the list do. Woodrow, last seen in 1983 (#954), went from #234 in 1911 to #44 in 1913, Wilson’s first year in office. Ike bounced around the middle to bottom of the pack from the 19th century on, but at least it is on the list, finally falling off the Top 1000 in 1957 (while Ike was still in office). Rutherford always struggled, giving up in 1905 at #910. Even Newt had its day (though not much of one), appearing near the bottom between 1880 and 1907.

But no Barack. And no Mitt.

Does this have any consequence? As for any correlation between electoral success and relative name popularity—at the time of election or at some significant life stage for voters—there is no consistent pattern, no seeming name advantage.

All we know is this: There has never been an election between two candidates with such unusual and unpopular names. Just one more element in an election unlike any other.

MoneyDesignDigitalSex

Sometimes you stumble upon an item that perfectly embodies America, the 21st century, and America in the 21st century. All in a good way. This is from a company called Crave:

Our first product – DUET – was submitted for pre-release funding on international design funding platform CKIE.com in August 2011 where it raised $104,000 from over 950 backers – 694% of the original target. Word of DUET consequently spread across the web, which has effectively raised the profile of the product even before its official release, while also providing a springboard for further CRAVE products and developments.

Crowdfunding. Check. Design. Check.

But what exactly is Duet?

In a world where high technology and luxury design seem to touch every corner of our lives, the most intimate experiences should be no exception. The dominating culture in adult products often feels cheap and sleazy. We were craving something better: something beautiful, something discreet, something environmentally friendly, and something sophisticated. After all, if anything deserves good design, it’s the things we bring to bed with us.

Design, again. Check. Sex. Check.

But what exactly is Duet?

With dual motors and a V-shaped angle, DUET delivers powerful and precise vibration for external clitoral stimulation. The tip, inside edges, and outside edges provide slightly different intensities, while the flat surface is ideal for massaging the area around and on the clitoris. The dual motors’ unique ‘split at the tip’ combines with the four vibration patterns to enable a variety of sensations for you to explore…

Duet will let you how much charge remains when you turn it on. It will pulse one to four times – one pulse meaning 25% full, and four pulses indicating your DUET is 100% charged. When plugged into a USB port, a light indicator will blink to let you know your DUET is charging. The intensity of blinking will change depending on how close to being fully charged. With four vibration modes and four power levels, DUET gives you flexibility to find the perfect intensity and pattern. The settings have been designed to be easily altered at whim, but won’t accidentally change on you in the heat of the moment. Vibration modes include steady, dual pulsing, circular pulse, and wave.

Sex, again. Check. USB port??

Yes, this is Duet. A vibrator and a USB flash drive.

This is, without irony, the sort of creativity that makes America great. Purse-sized vibrators have long been around, as have flash drives. But this story that combines cutting-edge financing through crowdfunding, high-level design, digital capability, and, of course, sex goes well beyond bringing together chocolate and peanut butter. This is American genius.

The First [Description Here] President

You’re every President
It’s all in you.
(apologies to Ashford & Simpson and Chaka Khan)

It all began when Maya Angelou dubbed Bill Clinton “the first black President.” This proved awkward when the real first black President, Barack Obama, took office. But when politics meets media, too much is never enough, and so the meme took hold.

This week Barack Obama was cover-featured in Newsweek as “The First Gay President.” That was followed today by Dana Milbank in the Washington Post suggesting that Obama may be, in a way, the first female President. Previous coverage had tagged Obama “The First Jewish President.”

To keep things actual, President Obama is not Jewish, or gay, or female. He has indeed been known to wear a kipa. He has not been known to wear a halo, rainbow or any other color.

Keeping it further factual, he is also the first biracial President, the first Hawaiian President, the first Grammy-winning President, and so on. If you’re positively inclined, you might also add that he may be the first 21st century President, if you relegate George W. Bush to a prior century’s worldview. If negatively inclined, there are plenty of choices: the first non-American President, the first Muslim President, the first Socialist/Communist President, etc.

Why stop there? Neither politics nor media is always that tethered to reality, so let your imagination run wild (i.e., make stuff up). Simply choose a descriptor and plug it in. Warning: No matter how whimsical and fantastic the results may seem, some of those who oppose Barack Obama will likely pick up on them and treat them as real. Please whimsicize responsibly.

The Spotify Cover Game


Note: Two online music services launched in 2006, one in Palo Alto, California, one in Stockholm, Sweden. Both shared a vision of offering on-demand, track-by-track access to streaming music. Lala, the American service, was a simple and usable platform. It was offered free, and was based on an evolving business model that had something to do with future subscriptions and music sales. It was a wonder. In 2009, Apple bought the company, possibly to integrate the platform into a future streaming service of its own. That vapor service never materialized and, instead, Apple killed Lala.

At the same time, Spotify was developing its own more sophisticated service in Europe. Music licensing held up its introduction in America until 2011. Lala lovers, still smarting from its demise, have to admit that Spotify is indeed everything Lala was and more. Spotify is flourishing, though it still has to prove the viability of its business model, but we enjoy it while it lasts. Maybe Apple will buy it and kill it too. Sorry—still a little bitter.

Spotify has changed the way we listen to music. What music lovers hoped would happen in the future happened: Click on a track, there it is on your computer. The future is here.

Spotify enables a lot of listener creativity and sharing. There are thousands of playlists created and available. Of course, commercial media, artists, and labels are drawn to popular platforms like moths to flame, and there are now plenty of those generated playlists too.

Spotify also allows unlimited exploration and discovery. Among the unique paths is what might be called the Spotify Cover Game. You can choose any song and listen to nearly every version of it ever recorded, minus the small number still unlicensed and unavailable.

The Spotify Cover Game is fun and educational. To try it, take any popular song from any era. Search for the track, and the results will list all—sometimes dozens—of the recorded versions from different artists.

To demonstrate, Mad Men fans might pick The Beatles’ Tomorrow Never Knows from Revolver. (For non-Mad Men fans, this is the track that in a recent episode young and sexy Megan Draper plays for her older and sexy husband Don Draper to introduce him to the Beatles in 1966.)

Here is a very partial list of artists you can hear performing Tomorrow Never Knows on Spotify:

Phil Collins
Junior Parker
Jimi Hendrix
Michael Hedges
Danielle Dax
The Pink Fairies
Cowboy Mouth
Wayne Krantz
Living Colour
Trouble
Monsoon
Tangerine Dream
The Mission UK
Dwight Twilley
Herbie Hancock & Dave Matthews
Dweezil Zappa
Grateful Dead
Phil Manzanera

The proof of the song is in the covers, and Tomorrow Never Knows doesn’t fail. Whether vocals or instrumental only, it pushes artists to rise to the occasion as they aspire to recreate a cultural milestone.

Best: Herbie Hancock and Dave Matthews. A surprise, given the competition from Jimi Hendrix, Living Colour, and others, and given that neither Hancock nor Matthews are noted for this kind of psychedelia.

Worst: Grateful Dead, hands down. They are noted for their psychedelia, but in this particular live version from a 1992 concert in Oakland, the vocals are literally unlistenable and the music isn’t all that great either. Probably better the next night or if you were really high.

Most Interesting: Legendary bluesman Junior Parker, who recorded it as part of a Beatles album. His smooth and full-bodied voice is in stark contrast to the usual ethereal takes. Accompanied by a spare arrangement of hypnotic bass with a touch of guitar and keyboard, this is a perfect realization and transformation of the original. One of the most interesting Beatles covers ever.

In addition to hearing the multiple ways that the strongest songs are treated, the SCG—and Spotify itself—is about serendipity, the exploration and discovery of unheard artists and tracks. The Hancock/Matthews track, for example, is from a 2010 collection of collaborative covers called The Imagine Project (containing Imagine, but it’s not a Beatles-only collection). There you will find a cover of the Peter Gabriel-Kath Bush anthem of hope in hard times, Don’t Give Up, with John Legend and P!nk performing. Nearly (only nearly) as good as the original, it is mesmerizing, heartbreaking, and uplifting at the same time:

No fight left or so it seems
I am a man whose dreams have all deserted
I’ve changed my face, I’ve changed my name
But no one wants you when you lose…

Moved on to another town
Tried hard to settle down
For every job, so many men
So many men no one needs

Don’t give up
’cause you have friends
Don’t give up
You’re not the only one
Don’t give up
No reason to be ashamed
Don’t give up
You still have us
Don’t give up now
We’re proud of who you are
Don’t give up
You know it’s never been easy
Don’t give up
’cause I believe there’s a place
There’s a place where we belong

That’s the Spotify Cover Game. Try it. Enjoy. Explore. Discover. And don’t give up.

Hitmakers Reborn: Etta James and Gil Scott-Heron

Twice, artists who died in the past year have been reborn as hitmakers through the miracle of musical merger.

Both Etta James and Gil Scott-Heron play posthumous parts in two irresistible and near-perfect records—even if only a small number of listeners know exactly what they are listening to and who made these records the success they are.

Hip-hop sampling has been a great creative development. What began as inclusion of bits and pieces has become a full-scale integration unknown in any art. This isn’t quoting or paraphrasing or homage or covering. This is merger.

One case is Flo Rida’s Good Feeling, a three-layer cake with the incomparable Etta James at the foundation (and as the icing). You’ll recognize her powerful gospel-soul riff from 1962’s Something’s Got a Hold on Me:

“Oh, oh, sometimes I get a good feeling, I get a feeling that I never, ever, ever had before.”

In 2011, Swedish producer and DJ Avicii made this hook the centerpiece of his dance hit Levels, laying it in the middle of the beats and the record. Flo Rida in turn sampled Avicii’s recording, including Etta James, to create Good Feeling. The song is even named for the lyrics of the original. Flo Rida had the commercial good sense to put Etta James’ voice right out front, just six seconds into the record. For the next four minutes we can’t wait for her voice to rise up again. And to demonstrate just how powerful the riff is, you can now hear the record in major commercial campaigns, including one for Buick.

Then there is Drake’s Take Care, featuring Rihanna. This is even more layered. It begins with the song I’ll Take Care of You, written by Brook Benton and recorded by Bobby “Blue” Bland in 1959. Groundbreaking musician and poet Gil Scott-Heron (The Revolution Will Not Be Televised) recorded the song on his final album I’m New Here (2010). The track was remixed the next year by Jamie xx, amping a plaintive and soulful performance into a beat-based I’ll Take Care of U. This is the mix at the heart of Take Care.

One piece of good news is that the records that emerged from this process are simply great. They are great, especially in the case of Good Feeling, because of the artistry they are based on. There is also good news in that the current artists have given some credit to these predicate performers and performances, though it could have been and still could be much more.

The final good news is that this creates an opportunity for music fans to learn that music didn’t start in 2012, or 2000, or 1990, or wherever the old/new or really-old/old/new line lies for listeners. Listen to Gil-Scott Heron, listen to Bobby “Blue” Bland, and most of all…

Listen to Etta James. You might know Etta James from her biggest hit At Last, which Beyonce sang at an Obama Inaugural Ball. You might know Etta James from the interesting movie Cadillac Records, a dramatized history of Chess Records, featuring Beyonce as Etta James.

But you may not know, and should learn, that Etta James was one of the most talented and versatile artists of her generation, singing standards, pop, R&B, even a little country, and straight blues. Her popularity in other genres kept her from being recognized as one of the blues greats: listen to The Sky Is Crying, Dust My Broom, or Lil’ Red Rooster. A place to start is The Chess Box. And no, there’s no Beyonce anywhere in sight.

Logo of a Lifetime


The image above is not the new Lifetime Network logo, launched on May 2 as part of the network’s rebranding. Instead, it is from the Sci-Fi Channel, which rebranded itself as Syfy in 2009. But for a brief moment, from November 1998 to March 1999, it asked to be called SF until it could decide what it wanted to be when it grew up. This is that interim logo.

Here is the new Lifetime logo, designed by Leroy+Clarkson:

Designing logos, while it may be well-compensated work, can be a thankless job. No matter how much sophisticated research goes into the process, it is art for commerce, but definitely art, and opinions vary according to taste (even when the discussion is seemingly objective, scientific and market-based). Add to that the creation and integration of a tag line and it is amazing that the process ever ends.

In 28 years, Lifetime has had 11 logos. You can see them on parade at Logopedia.

Elsewhere you can read explanations of what the new logo and the tag line mean relative to Lifetime’s strategies and its audience. Here and now, the logo can speak for itself…though it might have been worthwhile for A&E (owner of Lifetime) to consider reaching out to NBCUniversal (owner of Syfy) to see if maybe, just maybe, the old SF logo might still be available. Not nearly as subtle, Eastomystical, or feminine as the new logo, but it would be tons of fun:

The President’s Commission on Campus Unrest: A 1970 Manifesto of Hope

These first weeks of May mark events in 1970 unlike any in American history. Along with the most tragic consequence, an almost forgotten document of that time offers an eloquent statement of hope—for then and for now.

On April 30, President Richard Nixon announced the U.S. bombing of Cambodia as an escalation of the Vietnam War. Student protests and strikes swept colleges across the country. On May 4, National Guard troops at Kent State University shot at students, killing four and wounding nine. Protests and demonstrations expanded, and within the week hundreds of campuses were affected or closed down. Then ten days after Kent State, on May14, black students and other demonstrators at Jackson State College in Mississippi engaged with city and state policemen. Two students were killed and at least twelve were wounded.

Only a few weeks later, President Nixon established the President’s Commission on Campus Unrest on June 13, 1970. The Commission was chaired by William Scranton, former Pennsylvania Governor, and issued its report in October 1970.

Defining events have a half-life. Time passes, people pass, and more immediate crises displace the old. There are round-number anniversaries, and these events did get a boost from the fortieth anniversary a couple of years ago. Even when they are remembered, the visceral actuality and meaning get lost. If the event is at all controversial, it may be better to avoid the reminders completely and not have to deal with still-unsettled topics and themes. An example of this was the virtual silence surrounding last year’s 150th anniversary of the start of the Civil War. That could have been a platform for discussing so many issues—race, state’s rights, etc.—but we were understandably too busy trying to fix a broken national and world economy.

Maybe it is not surprising then that the 1970 report on campus unrest is so little mentioned or sought and so hard to find, even in this age of digital archives. It is worth reading, and not just as an historical artifact. President Nixon and others in his circle believed that colleges had become the breeding ground not just for opposition to the Vietnam War but for virulent and violent un-Americanism/anti-Americanism.

He hoped that the Commission would support this view of America. He got some of that, with conclusions that there were a minority of strident academics and students who, well-meaning or not, had created an environment of intolerance where discord and violence were the inevitable outcomes.  This the report called a “Crisis of Violence.”

But the Commission also found what it called a “Crisis of Understanding.” This moderate and idealistic analysis was not what President Nixon had in mind. It is an unbearably eloquent statement of aspiration and progress that could be written today—not in spite of the specifics being so different, but in their being so much of the moment.

From the introduction:

The crisis on American campuses has no parallel in the history of the nation. This crisis has roots in divisions of American society as deep as any since the Civil War. The divisions are reflected in violent acts and harsh rhetoric, and in the enmity of those Americans who see themselves as occupying opposing camps. Campus unrest reflects and increases a more profound crisis in the nation as a whole. This crisis has two components: a crisis of violence and a crisis of understanding.…

Behind the student protest on these issues and the crisis of violence to which they have contributed lies the more basic crisis of understanding. Americans have never shared a single culture, a single philosophy, or a single religion. But in most periods of our history, we have shared many common values, common sympathies, and a common dedication to a system of government which protects our diversity. We are now in danger of losing what is common among us through growing intolerance of opposing views on issues and of diversity itself. A “new” culture is emerging primarily among students. Membership is often manifested by differences in dress and life style. Most of its members have high ideals and great fears. They stress the need for humanity, equality, and the sacredness of life. They fear that nuclear war will make them the last generation in history. They see their elders as entrapped by materialism and competition, and as prisoners of outdated social forms. They believe their own country has lost its sense of human purpose. They see the Indochina war as an onslaught by a technological giant upon the peasant people of a small, harmless, and backward nation. The war is seen as draining resources from the urgent needs of social and racial justice. They argue that we are the first nation with sufficient resources to create not only decent lives for some, but a decent society for all, and that we are failing to do so. They feel they must remake America in its own image….

At the same time, many Americans have reacted to this emerging culture with an intolerance of their own. They reject not only that which is impatient, unrestrained, and intolerant in the new culture of the young, but even that which is good. Worse, they reject the individual members of the student culture themselves. Distinctive dress alone is enough to draw insult and abuse. Increasing numbers of citizens believe that students who dissent or protest, even those who protest peacefully, deserve to be treated harshly. Some even say that when dissenters are killed, they have brought death upon themselves. A nation driven to use the weapons of war upon its youth is a nation on the edge of chaos. A nation that has lost the allegiance of part of its youth is a nation that has lost part of its future.

We urgently call for reconciliation. Tolerance and understanding on all sides must reemerge from the fundamental decency of Americans, from our shared aspirations as Americans, from our traditional tolerance of diversity, and from our common humanity. We must regain our compassion for one another and our mutual respect. There is a deep continuity between all Americans, young and old, a continuity that is being obscured in our growing polarization. Most dissenting youth are striving toward the ultimate values and dreams of their elders and their forefathers. In all Americans there has always been latent respect for the idealism of the young. The whole object of a free government is to allow the nation to redefine its purposes in the light of new needs without sacrificing the accumulated wisdom of its living traditions. We cannot do this without each other. Despite the differences among us, powerful values and sympathies unite us. The very motto of our nation calls for both unity and diversity: from many, one. Out of our divisions, we must now recreate understanding and respect for those different from ourselves. Violence must end. Understanding must be renewed. All Americans must come to see each other not as symbols or stereotypes but as human beings. Reconciliation must begin. We share the impatience of those who call for change. We believe there is still time and opportunity to achieve change. We believe we can still fulfill our shared national commitment to peace, justice, decency, equality, and the celebration of human life. We must start. All of us.

Likeability and Political Forgiveness


In the most charming of political romantic comedies, The American President, an incandescently beautiful lobbyist (Annette Bening) chastises the handsome and liberal President (Michael Douglas), though not to his face:

The President has critically misjudged reality. If he honestly thinks that the environmental community is going to whistle a happy tune while rallying support around this pitifully lame mockery of environmental leadership just because he’s a nice guy and he’s done better than his predecessors, then your boss is the Chief Executive of Fantasyland.

The President is a very nice guy. He overhears this tirade, which leads to their meeting cute, having sex in the White House, splitting up, getting back together, and living happily ever after, romantically and politically. All is forgiven.

Everyone agrees that likeability matters. There is an apparent likeability gap between President Obama and Mitt Romney. Under normal circumstances, relative likeability is a solid predictor of Presidential outcomes. But these are anything but normal times. There are plenty of world-class doctors who are personality challenged, and given the choice between the one you would have a beer with and the one who can keep you alive, there isn’t much choice.

Still, likeability provides something that other characteristics cannot: room for forgiveness. That is why likeability matters, in politics and elsewhere. Everyone screws up, and the willingness of others to get over or past that is essential. Without denying his substantial talents and achievements, Bill Clinton survived on his likeability more than once. In the much darker and non-romantic comedy Primary Colors, based on Joe Klein’s roman a clef about pre-Presidential Bill Clinton, the candidate’s close friend and no-bullshit confidant, played by Kathy Bates, sums up the Peck’s Bad Boy of politics:

Now what kind of shit is that, Jack? Oh, excuse me. I forgot. It’s the same old shit. The shit no one ever calls you on, ever. Because you are so completely fucking special! Because everyone was always so proud of you. Me, too. Me, the worst.

Likeability matters because it makes you special, at least long enough to get beyond the worst of it. As President Obama confessed early on, he is not a perfect man, and would not be a perfect President. He hasn’t been, but who can be? The judgment depends on just how badly imperfect you are and how much people will forgive. That’s the well we all go to, and likeability keeps the well filled—at least for a while. Mitt Romney is not a perfect man or a perfect candidate. At some point, he will likely have to go to the well of likeability and forgiveness. We wonder whether there will be anything there when he does.